Bonus art for Chapter 13 of Part I of Paper Doll Veronika,
which is now posted on Arktoons! You
can also read it on my own
website. (I recommend my site for PC and Arktoons for mobile.)
I'm really glad to be doing these extra art pieces for each chapter, since I felt like the comic itself didn't have the time to explore the mood of "Forest", especially the creepy side thereof, as much as I would have liked to.
Quick fanart of Klavier and Lamiroir from Ace Attorney:Apollo Justice in a tavern in Borginia. I imagine Lamiroir singing "Gypsy Song" by Typhoon (because Spoiler: it's a lullaby/lament for a child; she would have thought, before she lost her memory, that Apollo had been killed in the fire in the palace.)
And Klavier will sing the Song of Anger, haha. The starry notes in the smoke are from one of the most beautiful (and that's saying a lot) puzzles in Vs. Professor Layton. (And the wine glasses--or should I say chalices--allude to another puzzle from thence.) I would very much like to be able to evoke music visually.
It is Catholic doctrine that God wills the salvation of
every human being. This has been bindingly declared in the condemnations of
Calvinism (Trent) and Jansenism (Prop. v Jansenii damn.). Therefore, the
salvation of each human being must be a possibility.
Therefore, when Ann Barnhardt speculates in her essay "The one about… DO ABORTED BABIES GO TO HEAVEN?" that miscarried babies absolutely
all definitely go to the Limbo of the Innocents--technically a part of Hell,
but one of natural happiness-- and that miscarriage itself is God intervening
in order to effect "the best possible outcome" for them, who would
otherwise end in a worse region of Hell, she is wrong. Per the previously
cited doctrine, "the best possible outcome" for a person cannot be
not being saved.
However, the idea that she is primarily addressing in the
essay: that all unbaptized infants absolutely all definitely go to Heaven, is
indeed an error and a pernicious one. It is a form of presumption. However, when she claims that the logical
conclusion of the idea of guaranteed salvation for the unborn would make
abortion a good deed, that is an error. By her logic, it would then be good to kill infants the moment after they are baptized. Murder is never a good deed even if the victim would be guaranteed Heaven. It was not a good deed for the Roman pagans to kill the early martyrs.
In any case, several years back, the Vatican held a conference on the idea
of Limbo and concluded with a declaration that "we may have hope" as
regards the final fate of unbaptized infants. This was before the antipapacy of Bergoglio, so while not an
ex cathedra teaching, it should not be simply rejected as a matter of course; it
came from under the auspices of a valid Pope. Hope. That means not
presumption--the idea that they all are guaranteed Heaven; and not despair--the
idea that none of them can possibly be given Heaven.
So yes, Barnhardt is right that infants do not deserve
the Beatific Vision, and that it cannot be taken as certain that they are given
it upon death. However, it must be acknowledged that there must be some possibility
for individual infants to be admitted thereunto. If there were no possible
hope, it would be imperative to develop surgical baptism, nanobaptism even, which
would make for a very cool aspect of a science-fiction story, but it is clear
from the Church's practicum through the centuries that this is not an
imperative.
And Barnhardt's basis for her speculation that miscarriage
is God intervening to prevent a worse outcome than Limbo for these souls: her
interpretation of Christ's statement that it would be better for Judas had he
not been born, yields some logical conclusions that are seriously faulty.
She takes this statement about Judas as evidence that in
other cases, God foresees that a person will damn himself and thus He causes him
not to be born, but that He didn't do this in Judas's case because of the
necessity of Christ's death. But if Judas is some kind of exception to a
rule, God's plan is imperfect.
The truth of the matter is, God's plan is perfect. Yes, He
came to die on the Cross and that was necessary. But it didn't absolutely have
to be via betrayal by Judas. And even after the betrayal, Judas could have
repented and not killed himself. Jesus' statement didn't lock him in. The
statement was contingent on Judas's final impenitence even though it preceded
it in time. Like the Immaculate Conception of Mary was contingent on the Cross
even though it preceded it in time.
If miscarriages are a smiting of the would-be damned, it
would be reasonable to conclude that no one who survives unto birth is
ultimately damned and that every person dies via smiting while in their best
possible spiritual state. This is the logic of "the best outcome"
without possibility of salvation for some. It is, frankly, semi-Calvinistic.
Not to mention, going by this logic desperately makes one question why God couldn't wait to
smite until right after babies are baptized, indeed, why He doesn't do just that in most cases!
Here's the thing. God does not operate so that "the
best outcome" overrides our free will. Our free will is of utmost
importance to God. He does not circumvent our free will to get us saved, nor
does He circumvent the consequences of our actions. Thus the Redemption,
atoning for our actions of sin, He allowed to be brought about by free human
actions including Judas'. And we should imagine that the eternal destiny of
unbaptized infants is, like the eternal destiny of everyone else, determined by
free will in response to grace, though we may not be able to tell how.
Here is what the Catholic Encyclopedia of 1910 has to say on
the matter:
The most difficult problem concerning
this Divine will to save all men, a real crux theologorum lies in the
mysterious attitude of God towards children dying without baptism.
Did God sincerely and earnestly will the salvation also of the little
ones who, without fault of their own, fail to receive the baptism of water or
blood and are thus forever deprived of the beatific vision? Only a few
theologians (e.g. Bellarmine, Vasquez) are bold enough to answer this question
in the negative. Either invincible ignorance, as among the pagans, or the
physical order of nature, as in still-births, precludes the possibility of the
administration of baptism without the least culpability on the part of the
children. The difficulty lies, therefore, in the fact that God, the author
of the natural order, eventually declines to remove the existing obstacles by
means of a miracle. The well-meant opinion of some theologians (Arrubal,
Kilber, Mannens) that the whole and full guilt falls in all instances not
on God, but on men (for example, on the imprudence of the mothers), is
evidently too airy an hypothesis to be entitled to consideration. The
subterfuge of Klee, the writer on dogma, that self-consciousness is awakened
for a short time in dying children, to render baptism of desire possible to
them, is just as unsatisfactory and objectionable as Cardinal Cajetan's
admission, disapproved of by Pius X, that the prayer
of Christian parents, acting like a baptism of desire, saves their
children for heaven. We are thus confronted with an unsolved mystery. Our
ignorance of the manner does not destroy, however, the theological certainty of
the fact. For the above-cited Biblical texts are of such unquestionable
universality that it is impossible to exclude a priori millions of children
from the Divine will to save humankind.
So, Barnhardt's speculation about the solution of this unsolved
mystery has clear problems and cannot be admitted.
As the conclusion of this essay, I offer my own speculation.
It is only speculation, and should it be proven to be likewise contrary to the
logical conclusions of Catholic doctrine, I will readily withdraw it. I cannot
fully explain my reasons, since some it of derives from the religious
experiences of someone I know that I do not have permission to reveal, but here
it is:
I speculate that there is a battle.
For the soul of the child, between angels and fallen angels,
which humans can aid.
The aid that can be given is analogous to spiritual
influence, such that of parents on surviving children. Kierkegaard was a heretic;
no soul is alone. Christ founded a Church and gave us means to aid in each
others' salvation. While, as stated in the quote, the idea that parents can
give proxy consent for Baptism of Desire has been disapproved (though not
anathematized), their intentions do make some kind of difference I am sure.
Other humans, especially the parents, can alternatively aid
the fallen side. Sins do damage even to the innocent; think of all the parents
presently having their children injected with genetic agents made from aborted
babies, one of the reported side-effects of which is lessened function in the
parts of the brain that respond to religious experience. And recently, the
Satanic Temple issued a ritual for women to recite while procuring an abortion.
It is clear the main purpose of it is to ensure the mother's full knowledge and
consent and thus mortal guilt, but I fear it may have some dark spiritual
effect on the baby as well. However, it is always possible for Divine Light to
overcome darkness.
Finally, I note that just as the Church does not order
surgical baptisms, She does not forbid the reception of Holy Communion by
pregnant woman. It is another matter of mystery how minutely the Eucharistic
species can be dissolved while retaining Christ's Substance, but I find it
suggestive that a pregnant woman nourishes her unborn child through sharing
blood.
Bonus art for Chapter 12 of Part I of Paper Doll Veronika,
which is now posted on Arktoons! You
can also read it on my own
website. (I recommend my site for PC and Arktoons for mobile.)
I'm working on drawing trees better, particularly giving them enough little branches and twigs.
I just read Underlake by Kia Heavey. It's an enjoyable paranormal romance, with decent morals and lovely evocation of rural lakeside summers. It does have a significant flaw, which I discuss below, but I had to draw this fanart because it answered a wish I never thought would be granted!
In Twilight: New Moon, (referring to the film; I never read the book) there's the scene where Bella went cliff-diving and hit her head and starts sinking, and an apparition of Edward floats up from the depths. My sister and I always thought that image suggested a better story, where he's the ghost of a drowned man, pale in the dark cold water. Well Underlake was that story!
Spoiler Warning for the following.
The best parts were descriptions of the lake, both above in the warmth and light of summer and below when John and Katie are magically suspended between life and death in winter.
But it did have a big flaw. When the time comes to return to the depths, Katie refuses to keep her promise. And we are only really given selfish reasons for that, but for some unexplained reason that's what breaks the spell and resumes the flow of time for John. That doesn't fit with the moral framework of a Cupid & Psyche/Beauty & the Beast story, which it is. In those tales, the woman breaks the spell on the man by ultimately keeping her promise, even if she broke it at first. It would have been much better if Katie was willing to go back under the ice, but then she started drowning, and John took her out despite believing doing so would cause his own death. That would have been a perfect redemption for his earlier act of suicide, and then their complementary sacrifices could have broken the spell, rather than her unwillingness to sacrifice!
After languishing for many months, the Paper Doll Club for my webcomic, Paper Doll Veronika, is swinging into action!
It's a way for readers to support the comic--my first goal is cover the web-hosting--and members get many extra bonuses! Most importantly, I just made a way to join that is not through Paypal: Subscribestar! It's like Patreon but fairer with the money and without its active enmity towards Christian morality.
Presently, there's more bonus material on my own website than on the Subscribestar page, but I'm working on getting everything in both places. Here's a list what there is so far:
Customizable paper dolls, both stationary and movable
Stationary dolls of Veronika and Stade
The first set of Veronika's dresses, both stationary and movable
Opportunity for a character cameo
Gallery of backgrounds
Gallery of sketches
And here are some things that are coming soon:
First set of male clothes
Stationary and movable dolls of special club characters Rosila and Burton
A very useful tool for understanding human behavior is the
sociosexual hierarchy (SSH for short) formulated by Vox Day. It categorizes patterns of male behavior and ranks them according to how
attractive they are to women, but it's useful for far more than just courtship
purposes. If one can correctly identify to which rank a man belongs, one knows
more or less what to expect from him and what effect he will have on others.
If you are already familiar with this hierarchy, you can
skip the following set of indented paragraphs. The SSH expands on the
Alpha-Beta dichotomy developed among pickup artists--referring respectively to:
dominant and attractive male behavior, or submissive and unattractive male
behavior--rather than just a binary, this hierarchy has six categories.
Alpha: the most attractive and dominant,
alphas are ambitious, successful leaders. They are boastful, charismatic,
aggressive, and tend to be promiscuous.
Bravo: the right-hand man type who
supports an alpha or one in an alpha position. They are loyal and fun.
Delta: a normal, decent sort of man,
hard-working and competent. They often are not given the credit they deserve
and when it comes to women, they might aim too high and/or be too easily cowed.
Gamma: a man who can't stand to be seen
as inferior to anyone despite not having achieved superior status. Deathly
afraid of failure or being shown up, he lies to himself and constantly tries to
undermine others. Nowadays, often nerdy. Repulsive to women.
Omega: a social reject, reviled and
reviling. Withdraws from society as much as possible because it disdains him.
Often unkempt and filled with resentment and misery.
Sigma: a man who doesn't care about
leading or following, pursues his own ends regardless of what others think of
him. Despite not seeking status, is attractive to women.
Many have sought for an equivalent female hierarchy. In
response to requests for one, Day has said it should be developed by a woman.
The following is an attempt to do so. The difficulty is that the attractiveness
of a woman to men is not nearly so dependent on her behavior as is a man's
attractiveness to women; being primarily based on her looks.
(A necessary aside: people often protest that the
attractiveness described in such analysis is no determiner of how good a spouse
a person is. It was never claimed to be. It should be common knowledge that the
most attractive people are not always the best mates. Unfortunately there is a
mistaken notion that because men's attraction is based more on appearance,
women's attraction must be somehow wiser or more based on virtue. It is not.
While attraction is important, it should but sadly cannot go without saying
that neither sex should select a spouse based on attraction alone without
consideration of virtue and other factors.)
Since female attractiveness is so determined by looks,
simply ranking women by their beauty is an insufficient tool for categorizing
and predicting behavior and mindset. But it is a factor. The interplay of
beauty and chastity, or beauty and bitchiness, has been discussed.
This theory is humbly submitted as a possible system for
categorization and analysis of female behavior. The author finds it thus
useful. Since it is about matters which many are likely to take personally, she
anticipates that many readers will not find it harmonious with their own observations
or feelings, but such readers should ignore it and formulate their own theories
rather than attempt to persuade the author to alter hers. She will not be doing
so.
The basis is a dual axis of beauty and niceness, yielding
four ranks.
The titles of the four ranks derive from the following
cartoon, Teen Girl Squad:
The rest of the series may be found here. It does not
explicate this theory, being mainly merely the source of the names, but does
accord with it at significant moments.
In this system, Cheerleaders and So-and-Sos are pretty,
What's-her-Faces and Ugly Ones are not. So-and-sos and What's-her-Faces are
nice, Cheerleaders and Ugly Ones are not. Note that 'nice' means exactly that, compatible
with but not the same thing as kind, friendly, charming, or good.
Cheerleader
Pretty and not-nice.
The highest ranking of women, the Cheerleader possesses
beauty and knows how to use it. She is good at manipulating people and can be
very captivating and very cruel. This is needful for her own sake, since almost
everyone she interacts with, male or female, treats her either with special
favor or with enmity. She is good at guiding the female herd by encouraging
imitation and shaming nonconformity. Many Cheerleaders are vain, selfish, and vindictive, getting whatever they want through flattery, calumny,
and detraction, and engaging in flirtation with men pledged to other women.
However; they are capable of using their abilities for good ends and many have,
especially in past eras when society was more ordered toward the Good. They are
highly desirable for high-status men, and a man needs a strong frame to keep
them in line. With a low-status man of weak frame, they become discontented and
make his and their own lives miserable. They cannot understand the mindset of
not-pretty women and often speak as though the attention they receive is
something to which all women are accustomed.
Examples: Scarlett O'Hara from Gone with the Wind, Emma
Woodhouse from Emma, Amy March from Little Women, Inara Serra
from Firefly (albeit imperfectly written by a noted Gamma). Mean
Girls is about a group of Cheerleaders, Regina, Gretchen, and Karen,
adopting a So-and-So, Cady, as one of their own, her transformation into a
Cheerleader and her learning, through failure, to use Cheerleader abilities for
harmony rather than discord.
So-and-So
Pretty and nice.
Women who possess beauty, though often not as much as Cheerleaders,
or are not as skilled at appearing to their best advantage, but still enough to
strike most men as noticeably pretty. They are also nice, meaning generally
patient, tolerant, and agreeable towards others. In an orderly group
of women they reinforce the guidance of Cheerleaders, with some risk of being
sycophantic. They make good relationship prospects for both high-status and
low-status men.*
Examples: Melanie Wilkes from Gone with the Wind, Jane Bennett from Pride
and Prejudice, Meg March from Little Women; Jane Fairfax from Emma
is less characteristically friendly than many So-and-Sos, but her beauty
and attainment of an Alpha confirm her status.
What's-her-Face
Not-pretty and nice.
Woman who lack beauty but are not actively repellent, their plainness
makes them effectively invisible to men. They try to be pleasant, but often
don't know how to dress well or use makeup and may have poor hygiene and/or be
a little overweight. They regard pretty women with bewilderment and can't understand
how they capture male attention. Their attempts consist of actions like
greeting a man to whom they are attracted and then spending a subsequent time
isolated, wallowing in discouraged embarrassment. Ignorant as to how to attract
notice, agitated if it occurs, many give up on romance entirely. Possessed of
low self-esteem, those who do land a man tend to be insecure, sure that he
could do better. This may lead them, on one hand, to try to be especially
pleasing and accommodating, or on the other, to succumb to bouts of
self-loathing-based emotional drama.
Note that in Teen Girl Squad, What's-her-Face, not
the Ugly One, is the one who does not have a date for the prom.
Examples: Luna Lovegood from Harry Potter; Deb from Napoleon
Dynamite; Sarah from Labyrinth is written like one but is far too
pretty; Marie Melmotte from The Way we Live Now but with situational
Cheerleader status due to her father's money.
The Ugly One
Not-pretty and not-nice.
Women who lack beauty yet make themselves visible to men
though positive ugliness and/or obnoxious attitude. Unable to get the male
attention through beauty or charm, they get it however they can. Gross obesity,
piercings, tattoos, unnaturally-dyed hair, fringe fashion, and/or loud, crude,
and/or aggressive demeanor. Some of them, such as the young woman in the above
picture, have a face which could possibly be pretty, but have disfigured themselves.
They do in fact attain men more than What's-her-Faces do, but said men are
often Gammas and the relationships are often unhappy. They despise pretty women
with a burning rage, and will undermine and backbite any Cheerleaders and
So-and-Sos who possess any kind of leadership role in a group. They lord it
over What's-her-Faces, flaunting the attention they do get or deriding
What's-her-Faces for not being as assertive, "real," or feminist as
they are. What's-her-Faces may become Ugly Ones out of frustration and
bitterness.
Examples: Ugly stepsisters from various fairy tales, Mary
Bennett from Pride and Prejudice, Hermione Granger from Harry Potter;
Janis from Mean Girls.
As final notes, group dynamics, or "pecking order"
has been touched upon, but the author believes she cannot fully address it,
having little experience thereof. As to courtship strategies, the author is
unqualified to give advice, but thinks it likely that one should endeavor to be
a So-and-So if one can.
Images in this post are copyright to their respective
owners.
* Lest this essay be accused of following the Law of Female
Journalism, the author states for the record that she is not a So-and-So.
Bonus art for Chapter 11 of Part I of Paper Doll Veronika,
which is now posted on Arktoons! You
can also read it on my own
website. (I recommend my site for PC and Arktoons for mobile.)
This is the first of these chapter art pieces to not employ
some kind of paper cutting and pasting, instead being all one piece like a
regular drawing. I think that enables a more complete cohesiveness, coming
through in the lighting. I was inspired by "Accolade" by Edmund Blair
Leighton.